The history of mechanics has been extensively investigated in a number of historical works. The full story from the Greeks and medievals through the Scientific Revolution to the modern era is long and complex. But it is also incomplete. Studies to date have been admirably thorough in putting empirical discoveries into proper perspective and in making clear the great importance of mathematical innovations. But there has been surprisingly little regard for the role of thought experiments in the development of (...) mechanics. We attempt to rectify this, at least in part. After a brief account of Greek ideas of space and motion, we focus on late medieval and early modern physics, especially the development of inertial motion. In particular, we examine the thought experiments of Buridan, Oresme, and Galileo, which did so much to undermine Aristotle’s account of motion and lead the way to the modern concept of inertia. (shrink)

The naïve view of temporal experience (Phillips, in: Lloyd D, Arstila V (eds) Subjective time: the philosophy, psychology, and neuroscience of temporality, forthcoming-a) comprises two claims. First, that we are perceptually aware of temporal properties, such as succession and change. Second, that for any temporal property apparently presented in experience, our experience itself possesses that temporal property. In his paper ‘Silencing the experience of change’ (forthcoming), Watzl argues that this second naïve inheritance thesis faces a novel counter-example in the form (...) of the striking motion silencing effects recently demonstrated by Suchow and Alvarez (Curr Biol 21(2):140–143, 2011). Here I clarify the form which any counter-example to naïve inheritance must take. I then explain how, on a plausible, rival ‘crowding’ interpretation of Suchow and Alvarez’s data, motion silencing poses no more of a threat to naïve inheritance than standard cases of change blindness. (shrink)

This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict (...) class='Hi'>motion in the sense that video recordings do, and that paintings do not merely depict objects but may depict those objects as engaged in various activities, such as moving. To resolve the tension, I demonstrate that we need to recognise an ambiguity in talk of the appearance of motion, and distinguish between the depiction of motion and the depiction of an object as an object that is moving. Armed with this distinction, I argue that there is an important sense in which paintings depict neither motion, duration, nor – perhaps more controversially – stasis. (shrink)

In apparent motion experiments, participants are presented with what is in fact a succession of two brief stationary stimuli at two different locations, but they report an impression of movement. Philosophers have recently debated whether apparent motion provides evidence in favour of a particular account of the nature of temporal experience. I argue that the existing discussion in this area is premised on a mistaken view of the phenomenology of apparent motion and, as a result, the (...) space of possible philosophical positions has not yet been fully explored. In particular, I argue that the existence of apparent motion is compatible with an account of the nature of temporal experience that involves a version of direct realism. In doing so, I also argue against two other claims often made about apparent motion, viz. that apparent motion is the psychological phenomenon that underlies motion experience in the cinema, and that apparent motion is subjectively indistinguishable from real motion. (shrink)

The philosophical investigation of perceptual illusions can generate fruitful insights in the study of subjective time consciousness. However, the way illusions are interpreted is often controversial. Recently, proponents of the so-called dynamic snapshot theory have appealed to the Waterfall Illusion, a kind of motion aftereffect, to support a particular view of temporal consciousness according to which experience is structured as a series of instantaneous snapshots with dynamic qualities. This dynamism is meant to account for familiar features of the phenomenology (...) of time, such as succession, continuity, and change. Previous theories have typically appealed to a subjective present occupying an interval of time; that is, a “specious present.” I argue, through analysis of motion aftereffect illusions and the rare condition of akinetopsia, i.e. motion-blindness, that the Waterfall Illusion fails to support the dynamic snapshot theory as intended. Furthermore, I suggest that future theories of subjective time should see temporal phenomenology as the result of non-localised processes closely tied to the mechanism underlying consciousness generally. (shrink)

In a recent article, van Fraassen has taken issue with the use to which Perrin’s experiments on Brownian motion have been put by philosophers, especially those defending scientific realism. He defends an alternative position by analysing the details of Perrin’s case in its historical context. In this reply, I argue that van Fraassen has not done the job well enough and I extend and in some respects attempt to correct his claims by close attention to the historical details.

Margaret Cavendish is widely known as a materialist. However, since Cavendishian matter is always in motion, “matter” and “motion” are equally important foundational concepts for her natural philosophy. In Philosophical Letters (1664), she takes to task her materialist rival Thomas Hobbes by assaulting his account of accidents in general and his concept of “rest” in particular. In this article, I argue that Cavendish defends her continuous-motion view in two ways: first, she claims that her account avoids seeing (...) accidents as capable of generation and annihilation, which she argues is inconceivable; and second, she contends that according to Hobbes’s own view “rest” is an absurd conception since it cannot be drawn from experience. Beyond its function as a defense, I claim that Cavendish’s focused criticism of “rest” shows that she is a perceptive reader of Hobbes’s natural philosophy, insofar as her criticisms undercut the two a priori principles of Hobbesian physics. Finally, I show how her views developed in more detail in Philosophical and Physical Opinions (1663) and Observations upon Experimental Philosophy ([1666] 2001) avoid the worries she raises for Hobbesian materialism. (shrink)

We examine the process of the emission of light from an atom that is in a relative translational motion with respect to the medium at rest in which the electromagnetic excitations propagate. The effect of Lorentz contraction of the of electron orbits on the emitted frequency is incorporated in the Rydberg formula, as well as the emitter’s Doppler effect is acknowledged. The result is that the frequency of the emitted light is modified by a factor that is identical with (...) what is called the ‘relativistic Doppler effect’. The new emission formula is applied for reinterpretation of the Ives-Stilwell experiment and shown that within the second order of approximation with respect to the speeds of the atom and the ‘absolute speed’ (Earth’s speed relative to the medium), the absolute motion does not affect the interference. The expression for the modification of the frequency involves both a first and a second-order term with respect to the speed of the atoms in the cathode tube. The latter turns out to be quantitatively the same as if the time would have changed its rate in the frame moving with the atoms. Thus, a new interpretation of the results of this famous experiment is provided without stipulating time dilation. (shrink)

Apparent motion is an illusion in which two sequentially presented and spatially separated stimuli give rise to the experience of one moving stimulus. This phenomenon has been deployed in various philosophical arguments for and against various theories of consciousness, time consciousness and the ontology of time. Nevertheless, philosophers have continued working within a framework that does not reflect the current understanding of apparent motion. The main objectives of this paper are to expose the shortcomings of the explanations provided (...) for apparent motion and to offer an alternative explanation for the phenomenon. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that (...) motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

The sampling-based motion planner is the mainstream method to solve the motion planning problem in high-dimensional space. In the process of exploring robot configuration space, this type of algorithm needs to perform collision query on a large number of samples, which greatly limits their planning efficiency. Therefore, this paper uses machine learning methods to establish a probabilistic model of the obstacle region in configuration space by learning a large number of labeled samples. Based on this, the high-dimensional samples’ (...) rapid collision query is realized. The influence of number of Gaussian components on the fitting accuracy is analyzed in detail, and a self-adaptive model training method based on Greedy expectation-maximization algorithm is proposed. At the same time, this method has the capability of online updating and can eliminate model fitting errors due to environmental changes. Finally, the model is combined with a variety of sampling-based motion planners and is validated in multiple sets of simulations and real world experiments. The results show that, compared with traditional methods, the proposed method has significantly improved the planning efficiency. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Music is an activity that needs to be acted out and “doing” music is a very embodied experience. That’s why the metaphor of motion is pervasive in Western class.

Narrative theory is a dynamic and evolving field of inquiry that has made tremendous inroads in the medical humanities over the past 40 years. Numerous authors have popularized the idea that “thinking narratively” can produce important insights about the illness experience for physician and patient alike. This paper draws on aspects of narrative theory to emphasize the moral responsibilities that arise when we step into another person's life narrative, becoming a character in her or his story. This has especially significant (...) ethical implications for the physician–patient encounter in that each character in this shared story experiences time somewhat differently. This gives rise to the notion of “slow motion ethics” and a somewhat unique perspective on the moral responsibilities clinicians bear toward their patients. (shrink)

Between 1905 and 1913, French physicist Jean Perrin's experiments on Brownian motion ostensibly put a definitive end to the long debate regarding the real existence of molecules, proving the atomic theory of matter. While Perrin's results had a significant impact at the time, later examination of his experiments questioned whether he really gained experimental access to the molecular realm. The experiments were successful in determining the mean kinetic energy of the granules of Brownian motion; however, (...) the values for molecular magnitudes Perrin inferred from them simply presupposed that the granule mean kinetic energy was the same as the mean molecular kinetic energy in the fluid in which the granules move. This stipulation became increasingly questionable in the years between 1908 and 1913, as significantly lower values for these magnitudes were obtained from other experimental results like alpha-particle emissions, ionization, and Planck's blackbody radiation equation. In this case study in the history and philosophy of science, George E. Smith and Raghav Seth here argue that despite doubts, Perrin's measurements were nevertheless exemplars of theory-mediated measurement-the practice of obtaining values for an inaccessible quantity by inferring them from an accessible proxy via theoretical relationships between them. They argue that it was actually Perrin more than any of his contemporaries who championed this approach during the years in question. The practice of theory-mediated measurement in physics had a long history before 1900, but the concerted efforts of Perrin, Rutherford, Millikan, Planck, and their colleagues led to the central role this form of evidence has had in microphysical research ever since. Seth and Smith's study thus replaces an untenable legend with an account that is not only tenable, but more instructive about what the evidence did and did not show. (shrink)

Although much evidence indicates that young infants perceive unitary objects by analyzing patterns of motion, infantsÕ abilities to perceive object unity by analyzing Gestalt properties and by integrating distinct views of an object over time are in dispute. To address these controversies, four experiments investigated adultsÕ and infantsÕ perception of the unity of a center-occluded, moving rod with misaligned visible edges. Both alignment information and depth information affected adultsÕ and infantsÕ perception of object unity in similar ways, and (...) infants perceived object unity by integrating information about object features over time. However, infants perceived a moving, misaligned, three-dimensional object as indeterminate in its connectedness, whereas adults perceived it as connected behind the occluder. These findings indicate that the effectiveness of common motion in specifying unified surfaces across an occluder is reduced by misalignment of edges. Alignment information enhances perception of object unity either by serving directly as information for unity or by optimizing the detectability of motion-carried information for unity. In addition, young infants are able to retain information about edge orientation over short intervals in determining connectedness via a process of spatiotemporal integration. Ó 2003 Elsevier Science (USA). All rights reserved. (shrink)

When people describe motion events, their path expressions are biased toward inclusion of goal paths (e.g., into the house) and omission of source paths (e.g., out of the house). In this paper, we explored whether this asymmetry has its origins in people’s non-linguistic representations of events. In three experiments, 4-year-old children and adults described or remembered manner of motion events that represented animate/intentional and physical events. The results suggest that the linguistic asymmetry between goals and sources is (...) not fully rooted in non-linguistic event representations: linguistic descriptions showed the goal bias for both kinds of events, whereas non-linguistic memory for events showed the goal bias only for events involving animate, goal-directed motion. The findings are discussed in terms of the mapping between non-linguistic representations of goals and sources in language, focusing on the role that linguistic principles play in producing a more absolute goal bias from more gradient non-linguistic representations of paths. (shrink)

Human infants begin very early in life to take advantage of multisensory information by extracting the invariant amodal information that is conveyed redundantly by multiple senses. Here we addressed the question as to whether infants can bind multisensory moving stimuli, and whether this occurs even if the motion produced by the stimuli is only illusory. Three- to four-month-old infants were presented with two bimodal pairings: visuo-tactile and audio-visual. Visuo-tactile pairings consisted of apparently vertically moving bars (the Barber Pole illusion) (...) moving in either the same or opposite direction with a concurrent tactile stimulus consisting of strokes given on the infant’s back. Audio-visual pairings consisted of the Barber Pole illusion in its visual and auditory version, the latter giving the impression of a continuous rising or ascending pitch. We found that infants were able to discriminate congruently (same direction) vs. incongruently moving (opposite direction) pairs irrespective of modality (Experiment 1). Importantly, we also found that congruently moving visuo-tactile and audio-visual stimuli were preferred over incongruently moving bimodal stimuli (Experiment 2). Our findings suggest that very young infants are able to extract motion as amodal component and use it to match stimuli that only apparently move in the same direction. (shrink)

Many metaphor theorists argue that our mental experience of time is grounded in our understanding of space, including motion through space. Results from recent experiments – in which people think about motion, which in turn influences their thinking about time – support this position. Still, many questions remain about the nature of the metaphorical connection between time and space. Can the mere suggestion of motion influence how people reason about time, and if so, when and how? (...) Three experiments investigated how thinking about “abstract” motion through sequences of numbers or letters would influence reasoning about time. Our results extend earlier psychological work on the link between time and space by showing that even motion in non-physical domains can influence temporal reasoning. The results provide further evidence that metaphorical understanding is grounded in our everyday physical and conceptual experience. (shrink)

In Critique of Pure Reason Kant speaks about motion, as action of the subject in connection with the actions by which we describe a space, such as drawing a line or constructing a circle. In a 1992-paper in Kant-Studien I argued that this is one important piece of textual evidence for the so-called externalist interpretation, according to which the transcendental conditions of experience and indeed all the a priori elements in Kant’s system are public, depending upon overt action. Konstantin (...) Pollok has criticized my reading, arguing that the relevant use of the term “motion” here is just metaphorical, and considering some central Kantian doctrines that he thinks refutes the externalist interpretation. The present paper defends the externalist interpretation against Pollok’s charges. (shrink)

In this article, after a theoretical introduction and a sketch of some related long-standing predictions, a bird's-eye view is presented—with the help of nine figures—of the various experimental sectors of physics in which Superluminal motions seem to appear (thus contributing support to those past predictions). In particular, a panorama is presented of the experiments with evanescent waves and/or tunnelling photons, and with the “localized Superluminal solutions” to the Maxwell equations (like the so-called X-shaped beams). The present review is brief, (...) but is followed by a large enough bibliography to allow the interested reader deepening the preferred topic. (shrink)

At present, the motion control algorithms of lower limb exoskeleton robots have errors in tracking the desired trajectory of human hip and knee joints, which leads to poor follow-up performance of the human-machine system. Therefore, an iterative learning control algorithm is proposed to track the desired trajectory of human hip and knee joints. In this paper, the experimental platform of lower limb exoskeleton rehabilitation robot is built, and the control system software and hardware design and robot prototype function test (...) are carried out. On this basis, a series of experiments are carried out to verify the rationality of the robot structure and the feasibility of the control method. Firstly, the dynamic model of the lower limb exoskeleton robot is established based on the structure analysis of the human lower limb; secondly, the servo control model of the lower limb exoskeleton robot is established based on the iterative learning control algorithm; finally, the exponential gain closed-loop system is designed by using MATLAB software. The relationship between convergence speed and spectral radius is analyzed, and the expected trajectory of hip joint and knee joint is obtained. The simulation results show that the algorithm can effectively improve the gait tracking accuracy of the lower limb exoskeleton robot and improve the follow-up performance of the human-machine system. (shrink)

While some film theorists and philosophers have seen motion as a necessary element of cinema, this view is challenged by a body of avant-garde films which offer little or no movement. These experiments—by film-makers such as Andy Warhol, Larry Gottheim, and Michael Snow—challenge essentialist definitions of film, while simultaneously foregrounding the crucial role played by duration in cinema’s ontology.

Many events that humans and other species experience contain regularities in which certain elements within an event predict certain others. While some of these regularities involve tracking the co‐occurrences between temporally adjacent stimuli, others involve tracking the co‐occurrences between temporally distant stimuli (i.e., nonadjacent dependencies, NADs). Prior research shows robust learning of adjacent dependencies in humans and other species, whereas learning NADs is more difficult, and often requires support from properties of the stimulus to help learners notice the NADs. Here, (...) we report on seven experiments that examined NAD learning from various types of visual stimuli, exploring the effects of dynamic motion on adults' NAD learning from visual sequences involving human and nonhuman agents. We tested adults' NAD learning from visual sequences of human actions, object transformations, static images of human postures, and static images of an object in different postures. We found that dynamic motion aids the acquisition of NADs. We also found that learning NADs in sequences involving human agents is more robust compared to sequences involving nonhuman objects. We propose that dynamic motion and human agents both independently result in richer representations that provide a stronger signal for NAD learning. (shrink)

Through an analysis of particular sections in Proust's A la recherche du temps perdu and several pieces by Stein, I examine how their search for bodily presence fosters the development of new styles of writing as the perceptual responses of both authors override the function of the narrator. The dissertation analyzes Husserl's phenomenological ideas on motion and the body and how they are further developed in France by Merleau-Ponty. I then use their phenomenological research in order to expand upon (...) notions of physicality in both literary authors. The action of the author writing, of the body "making marks" on paper, are qualities of the physicality of writing. In Proust the visceral is a key to the mnemonic: the body 'recalls' memory to us, where we then find bodily experiences---not just images of memories, but the physical feeling of what has been and what remains physical, I demonstrate how the episodes in which Proust encounters involuntary recollection are places of physical activity; some physical presence has to occur, or some physical activity must be taking place in order for memory to become present. Stein's experiments with language are renditions of how the author makes sense of her body and the world through perception. Her language actually 'stands in' for the spoken voice of a narrator who records a world in flux rather then narrating a story. (shrink)

Recent research has demonstrated an asymmetry between the origins and endpoints of motion events, with preferential attention given to endpoints rather than beginnings of motion in both language and memory. Two experiments explore this asymmetry further and test its implications for language production and comprehension. Experiment 1 shows that both adults and 4-year-old children detect fewer within-category changes in source than goal objects when tested for memory of motion events; furthermore, these groups produce fewer references to (...) source than goal objects when describing the same motion events. Experiment 2 asks whether the specificity of encoding source/goal relations differs in both spatial memory and the comprehension of novel spatial vocabulary. Results show that endpoint configuration changes are detected more accurately than source configuration changes by both adults and young children. Furthermore, when interpreting novel motion verbs, both age groups expect more fine-grained lexical distinctions in the domain of endpoint configurations compared to that of source configurations. These studies demonstrate that a cognitive-attentional bias in spatial representation and memory affects both the detail of linguistic encoding during the use of spatial language and the specificity of hypotheses about spatial referents that learners build during the acquisition of the spatial lexicon. (shrink)

Introspectively, it appears that we can have experiences as of temporally extended phenomena such as change, motion, and the passage of time. A central question in the ontology of time is whether we can make sense of these experiences without assuming that the passage of time is real. The antireductionist argument against such a possibility maintains that if there is no passage of time, but only static time slices, then our experiences as of arguably temporally extended phenomena cannot be (...) explained. Consequently, insofar as we can have such experiences, reductionists need to show that these experiences are in fact realized by static means. By drawing from cognitive sciences, this is exactly what Laurie A. Paul recently aimed to show. I will argue that Paul’s argumentation fails on two grounds. First, even if her argument for accounting apparent motion by static means is successful, it does not apply to other experiences of temporal phenomena. Second, there are reasons to doubt that even apparent motion is represented by static means. Accordingly, the antireductionist argument remains to be addressed. (shrink)

In a now famous thought experiment, Frank jackson asked us t0 imagine an omniscient scientist, Mary, who is coniincd in a black-and-white room and then released into the world 0f color . Assuming that she is omniscicnt in respect of all physical facts—roughiy, all the facts available to physics and all the facts that they in turn Hx or determine-physicalism would suggest that there is no new fact Mary can discover after emancipation; physicalism holds that all facts are physical in (...) the relevant sense . Yet we cannot help but feel that coming out of that room would be an occasion of dramatic enlightenment and, in particular, an occasion for learning facts to do with how red or yellow or blue 100ks or, as it is usually said, with what it is like t0 sec red or yellow or blue. Many in the black-and—whit<—: room knew all the physical facts about the world, where these may be taken to include three sorts of color facts: objcctual facts, as to what surface colors different objects have, assuming as I shall do throughout—that colors are properties of objects; intentional facts, as to which colors different objects 0r apparent objects are represented as having in the subjc-:ct’s experience, rightly or wrongly; and nonintentional facts, about what such color experiences are like in their effects on subiccts—wh<—:ther they are comforting, or arousing, or whatever. But, according to the argument, Mary didn’t know how any color looks or, equivalently, what color experience is like in itself, not just in its effects O1'1 subjects. This particular nonintentional fact about the quality of color c-zxpc-2ri<—:ncc-—this phenomenal fact, as it is often describcd—she did not. (shrink)

Austere relationism rejects the orthodox analysis of hallucinations and illusions as incorrect perceptual representations. In this article, I argue that illusions of optimal motion present a serious challenge for this view. First, I submit that austere-relationist accounts of misleading experiences cannot be adapted to account for IOMs. Second, I show that any attempt at elucidating IOMs within an austere-relationist framework undermines the claim that perceptual experiences fundamentally involve relations to mind-independent objects. Third, I develop a representationalist model of IOMs. (...) The proposed analysis combines two ideas: Evans' dynamic modes of presentation and Fine's relational semantics for identity. (shrink)

In recent years, with the rapid development of computer storage capabilities and network transmission capabilities, users can easily share their own video and image information on social networking sites, and the amount of multimedia data on the network is rapidly increasing. With the continuous increase of the amount of data in the network, the establishment of effective automated data management methods and search methods has become an increasingly urgent need. This paper proposes a retrieval method of human motion data (...) based on motion capture in index space. By extracting key frames from the original motion to perform horizontal dimensionality reduction and defining features based on Laban motion analysis, the motion segment is subjected to vertical feature dimensionality reduction. After extracting features from the input motion segment, motion matching is performed on the index space. This paper designs the optimization method of the phased dynamic time deformation algorithm in time efficiency and analyzes the optimization method of the phased dynamic time deformation algorithm in time complexity. Considering the time efficiency redundancy, this paper optimizes the time complexity of the phased dynamic time deformation method. This improves the time efficiency of the staged dynamic time warping algorithm, making it suitable for larger-scale human motion data problems. Experiments show that the method in this paper has the advantage of speed, is more in line with the semantics of human motion, and can meet the retrieval requirements of human motion databases. (shrink)

Dynamically transforming the elements of any performing artist’s craft, this practical guide is a must-have for musicians, dancers, and actors. The handbook shows how artistic performance is embodied in the unification of three critical elements—motion, emotion, and love—demonstrating how it offers experiences and opportunities distinct from the nonperforming arts. Step-by-step guidelines are provided for building intentional and inspirational practice time, thereby enhancing the relationships between the source, the performer, and the audience. Illustrating how intentional movement invokes emotions from both (...) the performer and the audience and how the concept of love gives a performance humanity and life, this eye-opening exploration creates pathways for achieving true artistry. (shrink)

The popular conception of the Renaissance as a culture devoted to order and perfection does not account for an important characteristic of Renaissance art: many of the period's major works, including those by da Vinci, Erasmus, Michelangelo, Ronsard, and Montaigne, appeared as works-in-progress, always liable to changes and additions. In Perpetual Motion, Michel Jeanneret argues for a sixteenth century swept up in change and fascinated by genesis and metamorphosis. Jeanneret begins by tracing the metamorphic sensibility in sixteenth-century science and (...) culture. Theories of creation and cosmology, of biology and geology, profoundly affected the perspectives of leading thinkers and artists on the nature of matter and form. The conception of humanity (as understood by Pico de Mirandola, Erasmus, Rabelais, and others), reflections upon history, the theory and practice of language, all led to new ideas, new genres, and a new interest in the diversity of experience. Jeanneret goes on to show that the invention of the printing press did not necessarily produce more stable literary texts than those transmitted orally or as hand-printed manuscripts—authors incorporated ideas of transformation into the process of composing and revising and encouraged creative interpretations from their readers, translators, and imitators. Extending the argument to the visual arts, Jeanneret considers da Vinci's sketches and paintings, changing depictions of the world map, the mythological sculptures in the gardens of Prince Orsini in Bomarzo, and many other Renaissance works. More than fifty illustrations supplement his analysis. (shrink)

Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in optical illusions (...) of movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (shrink)

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues (...) such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition. (shrink)

Experientialist semantics has contributed to a broader notion of linguistic meaning by emphasizing notions such as construal, perspective, metaphor, and embodiment, but has suffered from an individualist concept of meaning and has conflated experiential motivations with conventional semantics. We argue that these problems can be redressed by methods and concepts from phenomenology, on the basis of a case study of sentences of non-actual motion such as “The mountain range goes all the way from Mexico to Canada.” Through a phenomenological (...) reanalysis of proposals of Talmy, Langacker, and Matlock, we show that non-actual motion is both experientially and linguistically non-unitary. At least three different features of human consciousness—enactive perception, visual scanning, and imagination—constitute experiential motivations for non-actual motion sentences, and each of these could be related to phenomenological analyses of human intentionality. The second problem is addressed by proposing that the experiential motivations of non-actual motion sentences can be viewed as sedimented through “passive” processes of acquisition and social transmission and that this implies an interactive loop between experience and language, yielding losses in terms of original experience, but gains in terms of communal signification. Something that is underestimated by phenomenology is that what is sedimented are not only intentional objects such as states of affairs, but aspects of how they are given, i.e., the original, temporal, bodily experiences themselves. Since cognitive semantics has emphasized such aspects of meaning, we suggest that phenomenology can itself benefit from experientialist semantics, especially when it turns its focus from prepredicative to predicative, linguistic intentionality. (shrink)

According to so-called “thin” views about the content of experience, we can only visually experience low-level features such as colour, shape, texture or motion. According to so-called “rich” views, we can also visually experience some high-level properties, such as being a pine tree or being threatening. One of the standard objections against rich views is that high-level properties can only be represented at the level of judgment. In this paper, I first challenge this objection by relying on some recent (...) studies in social vision. Secondly, I tackle a different but related issue, namely, the idea that, if the content of experience is rich, then perception is cognitively penetrable. Against this thesis, I argue that the very same criteria that help us vindicate the truly sensory nature of our rich experiences speak against their being cognitively penetrable. (shrink)

This article, which seeks to connect philosophy, polite culture, and the Enlightenment, shows how Malebranche’s Cartesian science presented a full-frontal attack on the worldly notion of a good taste aligned with reason. It did this by arguing that the aesthetic tastes that people experience were the result of mechanically-transmitted sensations that, like all physical sensations, were inaccurate, erroneous and relativistic. The mechanics of this process is explored in detail to show how Malebranche was challenging honnête thinking. The article suggests that (...) Malebranche’s demystifying approach was at once a hallmark of the Enlightenment, and that his views would ironically come to inform much Enlightenment thought about taste in ways he would have despised. (shrink)

While it is well known that Plutarch’s De facie in orbe lunae was a major source of inspiration for Galileo’s Sidereus nuncius, its influence on his Dialogo sopra i due massimi sistemi del mondo, and especially on his views on gravity, has not been sufficiently explored. This essay offers the first systematic comparison of Plutarch’s and Galileo’s accounts of gravity by focusing on four themes: the thought experiment of a stone falling in a tunnel passing through the center of the (...) Earth; the account of gravity as a tendency to unite with the whole; the view that the Moon is a separate center of attraction; and the impossibility of attraction by an incorporeal point. The essay analyzes the role that these themes play in De facie and in the Dialogo, trying to understand how Galileo appropriated, reworked, and expanded on Plutarch’s views. (shrink)

Using Schelling's philosophy, Ben Woodard examines how an expanded form of naturalism changes how we conceive of the division between thought and world, mathematics and motion, sense and dynamics, experiment and materiality, as well as speculation and pragmatism. Nature, in Schelling's eyes, is not the great outdoors or some authentic pastoral realm, but the various powers, processes and tendencies which run through biology, chemistry, physics and the very possibility of thought itself.

The production of good sound generation in the violin is a complex task that requires coordination and spatiotemporal control of bowing gestures. The use of motion-capture technologies to improve performance or reduce injury risks in the area of kinesiology is becoming widespread. The combination of motion accuracy and sound quality feedback has the potential of becoming an important aid in violin learning. In this study, we evaluate motion-capture and sound-quality analysis technologies developed inside the context of the (...) TELMI, a technology-enhanced music learning project. We analyzed the sound and bow motion of 50 participants with no prior violin experience while learning to produce a stable sound in the violin. Participants were divided into two groups: the experimental group received real-time visual feedback both on kinematics and sound quality, while participants in the control group practiced without any type of external help. An additional third group of violin experts performed the same task for comparative purposes. After the practice session, all groups were evaluated in a transfer phase without feedback. At the practice phase, the experimental group improved their bowing kinematics in comparison to the control group, but this was at the expense of impairing the sound quality of their performance. At the retention phase, the experimental group showed better results in sound quality, especially concerning control of sound dynamics. Besides, we found that the expert group improved the stability of their sound while using the technology. All in all, these results emphasize the importance of feedback technologies in learning complex tasks, such as musical instrument learning. (shrink)

Recently, approach-avoidance tendencies and visual perception biases have been increasingly studied using bistable point-light walkers (PLWs). Prior studies have found a facing-the-viewer bias when one is primed with general threat stimuli (e.g. angry faces), explained by the “error management theory”, as failing to detect a threat as approaching is riskier than the opposite. Importantly, no study has explored how disease threat – linked to the behavioural immune system – might affect this bias. This study aimed to explore whether disease-signalling cues (...) can alter how we perceive the motion direction of ambiguous PLWs. Throughout 3 experiments, participants indicated the motion direction of a bistable PLW previously primed with a control or disease-signalling stimuli – that is, face with a surgical mask (Experiment 1), sickness sound (Experiment 2), or face with a disease cue (Experiment 3). Results showed that sickness cues do not significantly modulate the perception of approach-avoidance behaviours. However, a pattern emerged in Experiments 2 and 3, suggesting that sickness stimuli led to more facing away percepts. Unlike other types of threat, this implies that disease-related threat stimuli might trigger a distinct perceptual bias, indicating a preference to avoid a possible infection source. Nonetheless, this finding warrants future investigations. (shrink)

Most philosophers believe that we have experiences as of temporally extended phenomena like change, motion, and succession. Almost all theories of time consciousness explain these temporal experiences by subscribing to the doctrine of the specious present, the idea that the contents of our experiences embrace temporally extended intervals of time and are presented as temporally structured. Against these theories, I argue that the doctrine is false and present a theory that does not require the notion of a specious present. (...) Furthermore, I argue that the different aspects of temporal experiences arise from different mechanisms operating separately. If the theory is true, then temporal experiences do not tell us anything special about the nature of consciousness and its temporal properties per se. (shrink)